NEW York City Ballet is working hard to make its new programming – un changing groups of ballet, each with a fancy title – popular with its public.

Among the latest is “Visionary Voices,” which, for choreographic purposes, might have been more appropriately titled “Visionary Visions,” but, then, what’s in a name?

Chief among those visions is Alexei Ratmansky’s brilliant and moving “Russian Seasons,” created last summer for City Ballet to a vivid folkloric score by contemporary Russian composer Leonid Desyatnikov.

Its kaleidoscopic vignettes of life and love, and its humor and compassion, brought out special dramatic qualities in the cast, led here by Wendy Whelan, Albert Evans, Jenifer Ringer and Rebecca Krohn, simply by finding the underlying emotional counterpoint to the ballet’s surface of dazzling choreographic invention.

It’s seeming more and more likely that Ratmansky, artistic director of Moscow’s Bolshoi Ballet, is going to be among the first choreographers to place his mark on 21st-century classic dance. He has that degree of talent.

Completing the program is Christopher Wheeldon’s overly solemn, under-choreographed meditation on the slow movement of Beethoven’s Hammerklavier Piano Sonata, called simply “Klavier,” and a neatly nuanced performance of George Balanchine’s “The Four Temperaments,” in which Tom Gold shone.

Another program, titled “Contemporary Quartet,” featured Eliot Feld’s rhapsodic “Intermezzo No. 1.” Created to Brahms piano music for Feld’s own company in 1969, it’s today a modern classic, handsomely danced and well worth a permanent place in City Ballet’s repertory.

Also on this program is Wheeldon’s potent miniature to Richard Rodgers music, “Carousel (A Dance),” and Jorm Elo’s meretricious “Slice to Sharp.”

NEW YORK CITY BALLETNew York State Theater, Lincoln Center; (212) 870-5570. Season runs through Feb. 25.